"This is the first book-length exploration of the ways art from the edges of the Roman Empire represented the future, examining visual representations of time and the role of artwork in Roman imperial systems. This book focuses on four kingdoms from across the empire: Cottius's alpine kingdom in the north; King Juba II's Mauretania in the south west; Herodian Judea in the east; and Kommagene to the north east. Art from the imperial frontier is rarely considered through the lens of the aesthetics of time,and Roman provincial art and the monuments of allied rulers are typically interpreted as evidence of the interaction between Roman and local identities. In this interdisciplinary study, which explores statues, wall painting, coins, monuments, and inscriptions, readers learn that these artworks served as something more: they were created to represent the futures that allied rulers and their people foresaw. The pressure of Roman imperialism drove patrons and artists on the empire's borders to imbue their creations with increasingly sophisticated ideas about the future, as they wrestled with consequential decisions made under periods of intense political pressure. Lavishly illustrated and providing an important new approach to Roman material culture at the edge of empire, Visions of the Future in Roman Frontier Kingdoms 100BCE - 100CE is suitable for students and scholars working on Rome and its frontiers, as well as Roman material culture more broadly, and those studying the aesthetics of time in art and art history"--
This is the first book-length exploration of the ways art from the edges of the Roman Empire represented the future, examining visual representations of time and the role of artwork in Roman imperial systems.
This is the first book-length exploration of the ways art from the edges of the Roman Empire represented the future, examining visual representations of time and the role of artwork in Roman imperial systems.
This book focuses on four kingdoms from across the empire: Cottius’s alpine kingdom in the north; King Juba II’s Mauretania in the south west; Herodian Judea in the east; and Kommagene to the north east. Art from the imperial frontier is rarely considered through the lens of the aesthetics of time, and Roman provincial art and the monuments of allied rulers are typically interpreted as evidence of the interaction between Roman and local identities. In this interdisciplinary study, which explores statues, wall painting, coins, monuments, and inscriptions, readers learn that these artworks served as something more: they were created to represent the futures that allied rulers and their people foresaw. The pressure of Roman imperialism drove patrons and artists on the empire’s borders to imbue their creations with increasingly sophisticated ideas about the future, as they wrestled with consequential decisions made under periods of intense political pressure.
Lavishly illustrated and providing an important new approach to Roman material culture at the edge of empire, Visions of the Future in Roman Frontier Kingdoms 100BCE–100CE is suitable for students and scholars working on Rome and its frontiers, as well as Roman material culture more broadly, and those studying the aesthetics of time in art and art history.
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